. . . a curious mix of the magisterial and the severe. The two tendencies co-exist in the biggest of the sonatas here, the E flat Op 7, where passages of fabulous clarity and poise are punctuated with explosive chords . . . sometimes the overbearing element can vanish altogether, as it does in Pollini's delicate, quicksilver account of the first of the Op 14 pair, in G major.